On the basis of definition of the concept ‘methodological potential‘ possibilities of development of the new theoretical and methodical ideas interfaced to the initial concept of collective creative education of Nominative of Ivanov are illustrated. Treatments of such concepts and the phenomena as an education technique, methodical approach of the teacher, methodical system are presented. It is shown as by means of the concept new vision of a problem of productivity and efficiency of educational activity opens. In end (...) the short prospective characteristic of the new pedagogical theory - the theory of a personal choice in pedagogical activity is given. (shrink)

The destiny of Igor Ivanov, which was connected to the historical events, is showed. These events influenced the life of his family and his own as well. The role of komsomol and causes, which determined his attitude to the development of ideas of kommunarstvo, are specially highlighted. Contemporary rethinking of ideas of kommunar pedagogics as a pedagogical stream of the XX century is done. The key concept of this stream is organization of collective creative education in terms (...) of generations’ fellowship and shared concerns relations. (shrink)

This article is devoted to commune and со-creativity of 21 century. The author considers some aspects of со-creativity in the conditions of information society and active use of the Internet. The analysis of some technologies is presented in article as directions for development of community.

The problem of modern principle conditions, forms and effective group cooperation interaction methods are considered. On the basis of the comparative analysis of inconsistent approaches to teambuilding, the expediency of domestic experience of collective formation use on humanistic principles of the general care is proved, that were mostly qualitative theoretically and empirically developed and checked up by long-term experience of scientific and pedagogical activity of A. S. Makarenko, I. P. Ivanov and their followers. Some little-known facts of history of (...) their approaches to formation and collective development are considered. The basic psychology-pedagogical teambuilding principles, applicable not only in pedagogical, but also in many other kinds of modern creative activity are allocated. (shrink)

"Taken as a trilogy, _consent not to be a single being_ is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of _Epistrophies: Jazz and the Literary Imagination_ In _Stolen Life_—the second volume in his landmark trilogy _consent not to be a single being_—Fred Moten undertakes an expansive exploration of blackness as it relates to black life and the collective refusal of (...) social death. The essays resist categorization, moving from Moten's opening meditation on Kant, Olaudah Equiano, and the conditions of black thought through discussions of academic freedom, writing and pedagogy, non-neurotypicality, and uncritical notions of freedom. Moten also models black study as a form of social life through an engagement with Fanon, Hartman, and Spillers and plumbs the distinction between blackness and black people in readings of Du Bois and Nahum Chandler. The force and creativity of Moten's criticism resonate throughout, reminding us not only of his importance as a thinker, but of the continued necessity of interrogating blackness as a form of sociality. (shrink)

Article is devoted to consideration of development of ideas of collective creative education, features of a technique of the organization of collective creative affairs, a technique role in social creativity. The comparative analysis of the organization of collective creative business and the social project is presented in article, the characteristic of the main manifestations of social creativity is given.

This article explores the links between the philosophies of Georges Canguilhem and Gilbert Simondon. It highlights their shared emphasis on the difficult character of human life, framing this difficulty in terms of an existential encounter with problems and their resolutions. It shows how the notion of ‘problem’ which grounds both of their thinking presupposes a neo-vitalist conception of life as purposive behaviour, extended to forms of collective, technical and symbolic activity. The consequences of this conception for Canguilhem's (...) and Simondon's engagement with questions of pedagogy, and the role of philosophical education in particular, are then examined. The article concludes by considering the ambiguous place of anxiety in their work and its significance for thinking about the conditions of knowledge and action. Following Canguilhem and Simondon, I argue for the importance of helping the human organism develop relatively autonomous interior and exterior milieus to cope with life's fundamental difficulty. (shrink)

From the Parade Child to the King of Chaos depicts the pedagogical life history of an extraordinary teacher educator and internationally renowned curriculum scholar, William E. Doll, Jr. It explores how his life experiences have contributed to the formation and transformation of a celebrated teacher educator. From the child who spontaneously led a parade to the king of chaos who embraces complexity in education, complicated tales of Doll’s journey through his childhood, youth, and decades of teaching in schools (...) and in teacher education are situated in the historical, intellectual, and cultural context of American education. Seven themes are interwoven in Doll’s life, thought, and teaching: pedagogy of play, pedagogy of perturbation, pedagogy of presence, pedagogy of patterns, pedagogy of passion, pedagogy of peace, and pedagogy of participation. Based upon rich data collected over six years, this book demonstrates methodological creativity in integrating multiple sources and lenses. Profoundly moving, humorous, and inspirational, it is a much-needed text for undergraduate and graduate courses in teacher education, curriculum studies, theory and practice of teaching and learning, life history studies, chaos and complexity theory, and postmodernism. (shrink)

The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies (...) of Felix Guattari's schizoanalytic practice in the 1950s and 1960s and, before him, the Francophone educationalist Celestin Freinet, who founded the Modern School Movement, are explored and used to illuminate examples of some of our own attempts to set the classroom up as a space for collective engagement. We conclude by exploring how this understanding of the class as subject group may be used to mobilise action and de-stabilise the coordinates of existing academic divisions of labour. (shrink)

Context: Sustainability is among major societal goals in our days. Education is acknowledged as an essential strategy for attaining sustainability by activating the creative potential within young people to understand sustainability, bring forth changes in their everyday life, and collectively envision a more sustainable future. Problem: However, teaching and learning about sustainability and sustainability-related issues is not an easy task due to the inherent complexity, ambiguity, and context-specificity of the concept. We are in need of innovative pedagogical approaches (...) and tools that will allow us to design learning activities in which learners will be empowered to develop new, alternative interpretations of sustainability in personally and collectively meaningful ways. Method: We argue that a constructionist perspective involving the use of expressive media for digital storytelling offers an appropriate frame for designing learning activities fostering collaborative creativity in thinking and learning about urban sustainability. Our study is based on the design of a learning activity following this rationale. We adopted a qualitative approach in the collection and analysis of different sources of data with the aim to explore collaborative creativity as a learning process based on the students’ collective processes and resulting in the co-construction of new ideas and insights about sustainability, and new tangible artefacts encompassing them. Results: Our analysis of the collaborative creativity exemplified in the three digital stories produced identified important creative elements with regards to the three components of a digital story and how they were embodied in each digital story produced as a result of the students’ joint constructionist activity. Implications: Our study provides some preliminary evidence that collaborative creativity from a constructionist perspective can stand as an appropriate framework for designing learning activities addressing the difficult concept of sustainability. There are several implications for both theory and educational practice in environmental education and education for sustainable development, constructionism, and digital storytelling in education. Moreover, our study opens up new fields for research and theory in creativity. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and (...) graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

Over the last decade, there has been a considerable expansion of mindfulness programmes into a number of different domains of contemporary life, such as corporations, schools, hospitals and even the military. Understanding the reasons for this phenomenon involves, I argue, reflecting upon the nature of contemporary capitalism and mapping the complexity of navigating new digital technologies that make multiple and accelerated solicitations upon attention and our affective lives. Whilst acknowledging the benefits of mindfulness practice, this article argues that it (...) is equally important to attend to the ethical framework that gives orientation to these practices and the outer conditions that shape lived daily experience, such as school or work environments. I suggest that the well-meaning efforts to secularise mindfulness, provide scientific evidence for its effectiveness, and introduce it to wider publics may have served to impoverish the rich contribution that practices of mindfulness, situated within a broader ethical framework, can make to human lives, and arguably contribute to the educational endeavour. For example, the emphasis on transforming inner conditions of students’ lives can lead to the neglect of outer conditions, such as structural inequality, or unhealthy and exploitative work practices. This can result in practices that privilege individual wellbeing over compassion and concern for the happiness of others, providing a buffer against loving attention to the world and others. Instead, I ask how mindfulness in educational settings could come to be viewed in a different light if we reflect upon the ways in which school environments and curricula can promote mindfulness, awareness, sensitive inquiry, and contemplative practices through the day, rather than offering it as a discrete intervention focused on the self and wellbeing. (shrink)

A recent perspective proposed by cognitive linguistics allows overcoming the traditional trend by confronting the special rhetorical strength of metaphor with its evident argumentative nature. In such a direction the psycho-semiotic approach frames each human event of sense making within the notion of diatext, underlining the dialogical tension between “text” and “context” of enunciation. Metaphor is a relevant resource of diatextual analysis since it opens unexpected views on the mysterious procedures that translate claims of meaning into discursive modes suitable to (...) specific situations. A corpus of empirical evidences, collected within the organizational context through narrative interviews, allows better understanding of the creative power of metaphors. (shrink)

Virtue accounts of innovation ethics have recognized the virtue of creativity as an admirable trait in innovators. However, such accounts have not paid sufficient attention to the way creativity functions as a collective phenomenon. We propose a collective virtue account to supplement existing virtue accounts. We base our account on Kieran’s definition of creativity as a virtue and distinguish three components in it: creative output, mastery and intrinsic motivation. We argue that all of these components can meaningfully (...) be attributed to innovation groups. This means that we can also attribute the virtue of creativity to group agents involved in innovation. Recognizing creativity as a collective virtue in innovation is important because it allows for a more accurate evaluation of how successful innovation generally happens. The innovator who takes a collective virtue account of creativity seriously will give attention to the facilitation of an environment where the group can flourish collectively, rather than only nurturing the individual genius. (shrink)

Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories routinely (...) reveal creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

Creative force or creative shaping? This unprecedented effort to plumb the workings of the ontopoiesis of life by disentangling its primordial forces and shaping devices as they enter into the originary matrixes of life yields fascinating insights. Prepared by the investigation of the first two matrixes (the `womb of life' and `sharing-in-life', Analecta Husserliana Volume 74) the present collection of essays focuses upon the third and crowning creative matrix, Imaginatio Creatrix here proves itself (...) to be the source and driving force which brings us to the origins of the human mind - human life. Studies by: Elof Axel Carlson, A-T. Tymieniecka, N. Milkov, Eldon C. Wait, K. Rokstad, M. Golaszewska, M. Küle, W. Kim Rogers, Piotr Mróz, R. Pinilla Burgos, A. Carrillo Canán, G.R. Ronsivalle, J.E. Smith, A. Pawliszyn, A. Rizzacasa, L. Galzigna and M. Galzigna, Jiro Watanabe, M. Jakubczak, K. Tarnowski, M. Durst, W. Pawliszyn, R.A. Kurenkova, Carmen Cozma, E. Supinska-Polit, I.S. Fiut, Gerald Nyenhuis, Osvaldo Rossi, R.D. Sweeney, and D. Ulicka. (shrink)

Are emotions, feelings, sentiments not the stuff of literature? There it is where they project their inner logic of aesthetic transmutation; there, beyond the instrument of language that they command. This collection explores how the lyrical virtualities of life-experience and the elegiac style in literature share a common core, lifting the human significance of life from abysmal vitality to esoteric heights, from abysmal grief to a serene reconciliation with destiny. The elegiac sequence in the play of emotions, feelings (...) and sentiments brings together life and literary creativity in its transformatory power. (shrink)

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic (...) significance of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

This article draws on the conclusion of the Commission on the Humanities in The Humanities in American Life that the aim of a liberal arts education is to foster critical reasoning through the use of language or discourse. This paper maintains that the critical method is in itself insufficient to achieve its purpose. Its failure is in its exclusion of feeling and of silence from the thinking process. Hence, the ultimate object of my analysis is to correct and to (...) complement the critical method with the aesthetic method of teaching the humanities. Central to the aesthetic method is art as a means to cultivate contemplative and creative skills. The essay brings out and examines the value of art as voices of silence in Plato, Aristotle, Augustine, Dionysius, Bonaventure, Maurice Merleau‐Ponty and Paul Gauguin, and pays particular attention to the diaries of Eugène Delacroix. In the course of doing so, I shall be trying to make clear that art teaches us how to listen and how to encounter ourselves totally and completely. It goes on to suggest several pedagogical principles or consequences that flow from this aesthetic pedagogy. (shrink)

The challenge of developing creativity to enhance human potential is conceptualized as a multifaceted wicked problem due to the countless interactions between people and environments that constitute human development, athletic skill, and creative moments. To better comprehend the inter-relatedness of ecologies and human behaviors, there have been increasing calls for transdisciplinary approaches and holistic ecological models. In this paper we explore an ecological dynamics rationale for creativity, highlighting the conceptual adjacency of key concepts from transdisciplinarity, dynamic systems theory, ecological (...) psychology and social-cognitive psychology. Our aim is to extend the scope of ecological dynamics and contextualize the application of non-linear pedagogy in sport. Foregrounding the role of sociocultural constraints on creative behaviors, we characterize the athlete-environment system as an ecological niche that arises from, and simultaneously co-creates, a form of life. We elaborate the notion that creative moments, skill and more generally talent in sport, are not traits possessed by individuals alone, but rather can be conceived as properties of the athlete-environment system shaped by changing constraints. This re-conceptualization supports a pedagogical approach predicated on notions of athletes and sports teams as complex adaptive systems. In such systems, continuous non-linear interactions between system components support the exploration of fluent and flexibly creative performance solutions by athletes and sports teams. The implications for practice suggest that cultivating a constellation of constraints can facilitate adaptive exploration of novel affordances (opportunities/invitation for action), fostering creative moments and supporting creative development in athletes. Future models or frameworks for practice contend that pedagogies should emerge from, and evolve in, interaction with the sociocultural context in which practitioners and athletes are embedded. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and Collections of His Art in America: An NEH Curriculum ProjectJoseph M. Piro (bio)IntroductionI have asked myself whether the short time given us would be better used in an attempt to understand the whole of the universe or to assimilate what is within our reach.—Paul CézanneThis issue of the Journal of Aesthetic Education features an arts education curriculum project that was designed to use the oeuvre of Rembrandt (...) van Rijn—seventeenth-century Dutch painter, etcher, and draftsman extraordinaire—as a teaching resource. A partnership of scholars, university professors, museum educators, and classroom teachers designed the project, which uses Rembrandt as the prism through which to diversify teaching of the core content areas of social studies and visual art. Members of this team attempted to expand the boundaries of themes traditionally found in art and other humanities disciplines by linking these with the social sciences, thereby forming what might be called “humanistic social studies.” The final product is a Web site to which teachers and those interested in using this type of instructional approach in their classroom teaching will have access. Funding for this project derived from a National Endowment for the Humanities (NEH) Curriculum Materials Development grant designed to promote the teaching of the humanities and support projects that can serve as national models.1In the eyes of many, Rembrandt is viewed primarily as a “European” artist. Although it is true that many of his major works are found in museums across Europe, he is generously represented in the holdings of collections across America. Yet for many teachers in the United States he remains an enigmatic figure; knowledge about his art is limited, and the U.S. museum collections of his work remain untapped for classroom application. To broaden the appeal and teaching potential of his work, the project team [End Page 1] mined this collection of “American” Rembrandts. Specifically, the project, targeted at secondary art and social studies teachers (grades 6 through 12), is committed to building and increasing the capacities of teachers to network knowledge of Rembrandt’s art with their classroom practice. Further, with its grounding in aesthetic education theory within a humanities framework, the project endeavors to promote instructional innovation and encourage teachers to break new ground in high-impact classroom pedagogy. The timing of the project and its ongoing development was not accidental. They converged with events held in 2006 to commemorate the four hundredth anniversary of Rembrandt’s birth. These events ranged from worldwide museum exhibitions to publications of books containing new insights on Rembrandt, all of this aimed at celebrating an artist whose achievements many consider to be a zenith of world culture.Why Rembrandt: The Rationale for the ProjectWhy is Rembrandt the artist at the center of this project? There are any number of good reasons, but the project’s rationale centers around three in particular. First, to borrow a term from Peter Kivy, Rembrandt is the ultimate “aesthetic symbol,”2 an indisputably blue-chip figure who produced some of the greatest masterworks of world art, many of which students find both intellectually engaging and psychologically insightful. Traditionally, teachers have striven to enrich the aesthetic lives of their students with exemplars of the human mind, and the genius of Rembrandt provides a potent opportunity to do so.3 By studying an artist of such stature teachers can develop students’ cultural intelligence and visual literacy and present opportunities to observe and decode substantive, challenging masterworks of art. In this context, Rudolf Arnheim describes a painting by Rembrandt as containing a network of “visual arrows” that communicate multiple experiences about the human condition, including love, tenderness, and desire, among others. Arnheim speaks of the additive nature of the experience, how the viewer—almost like a mathematician—needs to learn how to add up the clues and arrive at a solution. He does not intend, of course, for the viewer to have an impersonal, “clinical” experience. Rather, he writes, “art... is one of the most powerful instruments available to us for the fulfillment of life. To withhold this benefit from human beings is to deprive them indeed.”4Second, there is a cognitive complexity embedded in... (shrink)

The article examines the processes of individualization in relation to the emergence and existence of various forms of collectivity. It analyzes the complexities of this process, which, while a necessary characteristic of modern society, can lead to atomization, frustration, and loss of meaning in life. Particular attention is paid to the nature of individualization: on one hand, it presupposes the uniqueness of each individual; on the other, it is inextricably linked to an individual’s association with certain collectives and the (...) internalization of supra-individual values. The article asserts that new forms of collectivity are emerging in the modern era that, rather than suppressing individuality, foster creative self-realization. The research explores issues of depersonalization and pseudo-collectivity, as well as the interplay between freedom and responsibility in the context of global digitalization. The author elucidates the dangers associated with the virtualization of personality, the erosion of boundaries between private and public spheres, and the potential for total control over individuals. Contemporary forms of virtual individualization, while creating an illusion of freedom, may in fact lead to a loss of personal individuality. The article further explores the impact of digital technologies on the transformation and evolution of both individual and collective memory, as well as their role in shaping identity. It underscores that digitalization not only offers new opportunities but also poses significant anthropological challenges. Dialogue is examined as a means of resolving conflicts and facilitating both individual and collective self-realization. The author contrasts M.M. Bakhtin’s dialogical approach with J.-P. Sartre’s existentialist interpretation of the relationship between the Self and the Other. It is emphasized that genuine dialogue requires mutual recognition and respect among participants, a shared space for communication, and a willingness to reconsider one’s own position. In conclusion, the study posits that addressing many of the problems generated by modern processes of individualization and collectivization in the age of global digitalization necessitates the creation of conditions conducive to interpersonal, intergroup, and intercultural dialogue. (shrink)

Paul Natorp, John Dewey and Sergius Hessen are usually considered to represent three different philosophical and pedagogical doctrines developed at the turn of the Twentieth century. These are, respectively: neo‐Kantianism, pragmatism and humanistic pedagogy widely rooted in Wil‐ helm Dilthey’s philosophy. Contrary to this common classification, Hessen himself described his own concept of pedagogy as an applied philosophy as a continuation of Natorp’s thought. However, Hessen also noted that an approach very similar to his one can be found (...) in John Dewey’s theory. In this case, the fundamental issue is to determine the relationship between philosophy and pedagogical theory and practise. The main part of this article will identify the specificity of this relationship: the specificity implied by the concept of pedagogy understood as applied philosophy. The concept of pedagogy, understood as an applied philosophy in its theoretical and practical aspects, is the basis for critical reconstruction of social life in general. It is the opinion shared by all three philosophers that this type of reconstruction should be based on the communal dimension of basic social interactions, that is, on the communal dimension of work. The only way for the renewal of a different form of social life leads through regaining through them an essential communal dimension of human work. All three authors agreed that to regain the communal dimension of human work by another form of social interaction would only be possible when certain conditions are present; that is, when work will be permeated by individual creativity. The presence of such conditions shall be ensured by the educational community. Thus, the educational community should be a starting and end point for any critical social reconstruction as well as for the pedagogy understood as an applied philosophy. (shrink)

Since the end of the 1990s, creativity has become a growing area of interest once more within education and wider society. In England creativity is now named within the school curriculum and in the curriculum for children aged 3-5. There are numerous government and other initiatives to foster individual and collective creativity, some of this through partnership activity bringing together the arts, technology, science and the social sciences. As far as education is concerned, this growth in emphasis and value (...) placed on encouraging creativity can be seen as being in stark contrast with the government policy prevalent from the late 1980s onward. One of the underpinning themes and justifications for this re-kindling of interest in fostering creativity is that the individual and collective empowerment which is fostered by the development of creative skill is seen to be a good thing at the social and economic level in particular (Craft, 2002). These justifications have been discussed elsewhere (Jeffrey and Craft, 2001). But an important question to ask is, how desirable are the cultural norms of continual change and innovation in Western society? This paper examines some possible social, environmental, cultural and ethical limits to creativity, in the context of educating for creativity (NACCCE, 1999). It argues that the notion of creativity may be value- and culture-specific and that this poses the so-called liberal educator with various dilemmas of principle and pedagogy, which are explored. (shrink)

This chapter contains sections titled: Creative Inner Space O True Apothecary! A Votary to Fond Desire Philosophers Gaining Altitude Insight and Delusion Life, Liberty, and the Pursuit of Cannabis.

In lieu of an abstract, here is a brief excerpt of the content:Creativity in Teaching and Building a Meaningful Life as a TeacherDavid T. HansenMy point of departure in this essay is the idea that creativity in teaching often has less to do with inventiveness per se than it does with responsiveness. To draw on terms from John Dewey, creative teachers "rise to the needs of the situation" presented in the educational setting.1 They respond well to circumstances not (...) because they necessarily have the pedagogical equivalent of Twyla Tharp's talent for choreography or B.B. King's brilliance on the blues guitar; rather, I want to suggest that creative teachers, at least in many cases, "rise" and do what is needed because they have learned to pay attention both to students and to the subject(s) at hand. In other words, I propose that we consider the idea that creativity in teaching often manifests itself most vividly, if also subtly, in a kind of ongoing attentiveness, by which I mean a dynamic combination of patience, listening, and initiative.I will begin the discussion by first sketching a conception of creativity in teaching centered around the idea of attentiveness. Then I address two [End Page 57] consequences of this conception. The first is that the most suitable models of good practice for new teachers to start with are not the profession's versions, presuming such exist, of Pablo Picasso, Marie Curie, or Michael Jordan. I do not mean that it is uniformly inappropriate to place such models in front of teacher candidates, any more than it would be wrong to put before art students the work of a Cassatt or Rembrandt. However, I will argue that among the best and most consequential initial models are those experiences in which teacher candidates themselves truly listened to the doings of the world around them and heeded what was said, whether the latter "spoke" in the form of a work of art, a human voice or gesture, or the play of wind in the trees. If new teachers take seriously this kind of experience, they can gain a valuable perspective for approaching the long and often difficult process of appreciating teaching's details and engaging them in educational settings. I illustrate these claims by examining a field-based activity that was part of a teacher education program I used to direct.The second consequence of the conception of creativity in teaching I will put forward points to the title of this essay. If new teachers deepen their ability to pay attention and to engage in creative work, they position themselves to receive one of teaching's primary offerings to its practitioners, namely, a life of meaning."Ordinary" Pedagogical CreativityCreativity in teaching can take many forms. We witness it in the structuring of an artful lesson plan; in the logic, flow, and pacing of a dynamic lecture; or in a timely and evocative example or illustration the teacher employs to clinch a point in the midst of a class. All of this is familiar and an important, indeed indispensable, way to think about good teaching. Creativity in practice is associated here, among other things, with notions of expertise and of knowledge gained through experience.However, I want to add to this portrait the notion that creativity in practice can also spring from responsiveness. Rather than issuing solely from what the teacher brings to the educational setting — consider again terms such as expertise and knowledge — creativity can point to what the teacher is capable of deriving or drawing from it. Creativity as responsiveness denotes a form of openness to the setting, which may or may not complement or fit harmoniously with what is preset, prefigured, or anticipated. Experienced teachers would be the first to say that there are times when it becomes educationally vital to shelve a preset plan. There are times when one form of creativity in teaching, embodied in a well-wrought lesson plan, must give way to another form, embodied in what I am calling responsiveness. The art of teaching consists, in part, of balancing these expressions of pedagogical creativity.Let me share the following vignette as a basis for elucidating this point. One morning in March 2002, during which... (shrink)

In this paper, the author addresses the problem of socialisation of children with a history of disabilities and mental retardation by means of visual arts. It is important to look at the very sphere of life of these categories of children. As a rule, these children, for the most part, live in dysfunctional families, which makes it almost impossible to provide them with a form of socialization. This article focuses on the extent to which and how a programme of (...) socialisation of these children can be achieved through the medium of visual arts. At the moment there are works of modern pedagogues who have devoted their scientific researches to this problem, but there are few teachers-artists who deal with this problem. In this article the author devotes his creative attention to this issue and reflects on what means of fine arts and visual literacy can develop and guide in the right direction the socialization of children and young people with disabilities by means of fine arts. A number of scientific works devoted to this problem are seriously reviewed. The author is actively trying to draw the attention of the teaching community to the problem of prevailing social conditions, to reach an educational and cognitive level and, as a consequence, to a better product of the set task of socialization of children with special needs and disabilities in the learning process by means of subject disciplines: drawing, painting, composition, printmaking, etc. (shrink)

The article elucidates the pivotal role of philosophical knowledge in nurturing students’ capacity for scientific creativity. Grounded in D.B. Bogoyavlenskaya’s typology of cognition levels (stimulus-productive, heuristic, and creative), the authors illustrate that authentic creativity is not merely tied to the acquisition of subject-specific knowledge but is deeply rooted in personal engagement with science and the primacy of cognitive motivation. The decisive factor in sculpting a scientist’s creative potential lies in their immersion in the culture of philosophical thought, characterized (...) by its pursuit of the universal, critical reflection on the foundations of cognition, and problematization of the apparent. Drawing from the experience of teaching philosophy to students in the natural sciences, the article showcases the significance of philosophical practices and pedagogical approaches that inspire students to creatively grapple with scientific quandaries within the context of cultural universals. Firstly, it emphasizes the cultivation of a culture of understanding as a process of grasping the essence of the phenomena under study. The importance of hermeneutic approaches and engaging with philosophical texts to deepen understanding is accentuated. Secondly, it highlights the refinement of communication skills and the experience of collective discourse as a mechanism for objectifying individual ideas and insights. Thirdly, it stresses the nurturing of independence and initiative in thinking, as well as personal investment in the research process, which constitute the bedrock of genuine scientific creativity. The culmination should be the emergence of a personality imbued with a culture of seeking the universal within the particular, equipped with sophisticated skills in categorical thinking, and enriched by the experience of philosophical reflection on the boundaries of entrenched paradigms of perceiving reality. The challenges and prospects of implementing the proposed model of philosophical engagement are examined, taking into account the social challenges of the information society and the psychological idiosyncrasies of the current generation of students. The authors arrive at the conclusion that philosophy, as the methodological nucleus of university education, ensures the integrity and openness of scientific knowledge, establishing the foundational value orientations and guiding principles for the creative endeavors of a future scientist. (shrink)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

Philosophy has been always received or bypassed for its resonance or aloofness with the spirit of the time. Should not philosophy/phenomenology of life be expected to do more to ascertain its validity? Should it not pass the pragmatic test, that is to respond directly to the life-concerns of its time? What is the role of the philosopher and philosophy today? Due to the ever-advancing scientific, technological, social and cultural changes that are shaping human life and the (...) class='Hi'>life-world-in-transformation, we are desperately seeking a measure to estimate life's unfolding, a compass to stir the course between Scylla and Charibda to maintain human-hood and creative insight for laying the cornerstones for the unforeseeable unfolding of life dynamisms. It is this challenge which philosophy/phenomenology of life meets with underlying ontopoietic unraveling of the hidden logoic concatenations of beingness-in-becoming. The present collection of essays offers contributions to answer this challenge by focusing upon measure, sharing-in-life, intersubjectivity and communication, societal equilibrium, education, and more. It will be of great interest to those working in the fields of Phenomenology, Philosophy, History of Philosophy, and Contemporary Philosophy. (shrink)

Nursing work centers around attending to a person's health during many of life's most vulnerable moments, from birth to death. Given the high‐stakes nature of this work, it is essential for nurses to critically reflect on their individual and collective impact, which can range from healing to harmful. The purpose of this paper is to use a philosophical inquiry approach and a critical lens to explore the potential influence of critical pedagogy (how we learn what we learn) (...) on nursing praxis (why we do what we do) with the aim of disrupting stigma and discrimination within the profession. This paper draws on the works of Paulo Freire, Henry Giroux, and bell hooks to alert readers to particular windows of opportunity where an intentional adoption of critical pedagogy in nursing praxis may help the profession think differently about two important and related topics: relational violence and peer‐led knowledge mobilization. As a practice‐based and theoretically grounded profession, nurses often strive to bridge the theoretical with the practical and the individual with the systemic. Thus, developing a robust and philosophically rooted disciplinary body of knowledge is particularly important to help us defensibly grapple with the notions of truth and ethics that shape our work's very essence and impact. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity can substantially (...) transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

Creatively operationalizing Claude Lévi-Strauss’ predicament that food is good to think with, I initiate a methodological conceptualization of food by exploring the ways in which it is apt to study Sri Lankan domestic and collective village life. Food is approached as an assemblage that is an emergent resultant of heterogeneous aspects with which it is deeply entangled and by way of which it turns into a potent agent shaping life. More specifically, I explore the vibrancy of these (...) different components that co-create the overall soundscape of food that as such becomes the conductor of Sri Lankan life. Food shapes domestic life by way of its preparation and consumption, and through its cultivation also conducts the collective rhythms at the village level. The conceptualization of food as an assemblage seeks to develop it as a methodology that opens up for a holistic integration and interdisciplinary collaboration. (shrink)

The purpose of this preliminary qualitative research study is to explore the role and function of multiple dynamic interactive aesthetic and intersubjective phenomena in the creative arts therapies process relative to transformation in perception, behavior, relationship, and well-being. A group of doctoral students and faculty studied these phenomena in an analogous creative arts therapies laboratory context using a method called Intrinsic Arts-Based Research. Intrinsic Arts-Based Research is a systematic study of psychological, emotional, relational, and arts-based phenomena, parallel to (...) those emergent in the creative arts therapies, using individual and collective intrinsic immersive and reflective experience in combination with qualitative and arts-based research methods. Our primary goal was to simulate the creative arts therapies experience in order to identify, document, and describe the complex transformative phenomena that occur at the nexus of arts-based expression, reflection, and relationships in the arts therapies. For the purposes of this paper transformation is defined as “.... a significant reconfiguration of perception and thought resulting in the lessening of psychic restraint and pain, allowing for the emergence of new psychological perspectives that contribute to living a more creative life” (Gerber et al. 2012, 45). Through a deductive thematic analysis of written accounts of these simulated creative arts therapies experiences by participant/researchers in the laboratory we identified three primary dynamic and interactive broad constructs that together, with more specific modifying themes, might account for and describe change within the creative arts therapies. These broad dynamic interactive themes are: ruptures, resolutions, and transformation; relationship and intersubjectivity; and, arts-based expressive processes. The more specific modifying themes include dialectical rupture and resolution, relational attunements and ruptures, imaginational flow, transcendence and ruptures, sensory/kinesthetic/embodied ways of knowing, and intersubjective transcendence. We propose that change in the creative arts therapies is driven more by a dynamic system of interactive phenomena the varying combinations of which create conditions for relational attunement, imagination, dialectical tensions and creative resolutions, and the ultimately creative transformation. (shrink)

The question of the emergence of individual religions has always been a painful place for Soviet religious studies, since the latter tried to solve it in the Marxist canonical context: religion is the product of a certain historical epoch and has only socioeconomic and class roots of its origin. First of all, based on individual statements of the classics of Marxism, advocated the idea that religions are the fruit of the collective creative work of the masses.

The article is dedicated to the activities of the Academician of the National Academy of Sciences of Ukraine, doctor of political economy, Volodymyr Andriyovych Kosynskyi, who was born in Ukraine and worked in many European countries, particularly in Latvia. Kosynskyi was active as an economist, statistician, and a public and political figure, who held the position of the Minister of Labor of Ukraine from November to December 1918. The study allows to systematize and critically evaluate the sources on the impact (...) of Kosynskyi’s activities on the development of economics, as well as to reconstruct the main stages of his life and professional career. After a critical evaluation of the sources on the impact of Kosynskyi’s activities in economics, it is shown that his main contribution was the following: development of methodological problems of political economy, the theory and practice of credit, and methodology to develop agriculture. Kosynskyi was among the first to proclaim the transition of statistics from a science that collects and organizes information to a science that explains and predicts. The article also presents a periodization of Kosynskyi’s life and creative path, tracing the following periods: the Hlukhiv period, the Moscow period, two Riga periods, two Odessa periods, the Kyiv period, and the Czech period. (shrink)

The Pedagogy of Creativity represents a groundbreaking study linking the pedagogy of classroom creativity with psychoanalytical theories.

This collection of previously unpublished essays is a celebration of the life and thought of a beloved professor who died of cancer in 1983. (pb).

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Creating Life: The Aesthetic Utopia of Russian ModernismJohn GoodliffeCreating Life: The Aesthetic Utopia of Russian Modernism, edited by Irina Paperno and Joan Delaney Grossman; x & 288 pp. Stanford: Stanford University Press, 1994, $39.95.In describing the history of a country’s literature, one may well be tempted to divide it into separate compartments and so lose sight of the continuity which is, in the final analysis, more (...) worthy of attention. Historians of Russian literature have often succumbed to this temptation and it became almost commonplace to read that in Russia the Realism of the nineteenth century gave way to the Symbolism which began in the twentieth; that Symbolism gave way to Futurism; and that in due course all the earlier “-isms” were swept aside by the Socialist Realism of the Soviet period. For Marxist-oriented Soviet [End Page 371] historians such preoccupation with compartmentalization was obsessive. This makes more than welcome a series of essays which is at pains to emphasize the essential connections and kinship between these various “-isms.”Four of the seven essays are intended to demonstrate how the Symbolists, while ostensibly breaking with the earlier tradition of positivism (the idea that art’s essential purpose is to help build a better world), were, in a number of important respects, continuing and even reinforcing what they claimed to despise. Thus, regarding art and life as indissolubly linked, they attempted to turn life into art and art into life. Their endeavors frequently led them into behavior that now appears “eccentric, at times even ridiculous” (p. 166). Olga Matich describes how Blok, Bely, Dmitry Merezhkovsky, and Zinaida Gippius attempted to model their sexual relationships on the pattern of the “erotic utopia” described by Vladimir Solov’ev in his seminal The Meaning of Love (1892–94). Joan Delaney Grossman discusses Nina Petrovskaia’s relationships with Bely and Valery Briusov. Michael Wachtel shows how Viacheslav Ivanov attempted to overcome his grief at the death of his first wife by using his creative powers to make contact with her “beyond the grave.”Irene Masing-Delic traces the Pygmalion myth through Pushkin, Baratynsky, Turgenev, and Chernyshevsky to the Symbolists who were especially attracted by a myth which showed how an artist could create life and even conquer death. In “Andrei Bely and the Argonauts’ mythmaking,” Alexander Lavrov considers the role of the “Argonaut” circle in establishing a Russian Symbolist culture in the first years of the twentieth century. The Argonauts’ credo was “life-creation” rather than “art-creation,” and they claimed to make no distinction between “talent for living” and “talent for writing.” Lavrov argues that the failure of the relationship between Bely and Nina Petrovskaia marked the disintegration of “Argonautism” and the culture they sought to create. It is left to Irina Gutkin in the concluding essay to guide us through the grotesqueries of Futurism into the apparently diametrically opposed, sanitized world of Socialist Realism, by way of Constructivism, Marxism, and Meyerholdian bio-mechanics, leaving us in little doubt that, appearances to the contrary, each of these movements was concerned with turning art into life and using it to create a better world. So ultimately, as she neatly sums up the thesis of the whole collection, “The aesthetic utopian ideal of art creating life, which took shape at the beginning of the twentieth century, was fused with the utilitarian tradition of the 1860s” (p. 181).I have deliberately reserved for the end comment on Irina Paperno’s introduction and opening article (“The Meaning of Art: Symbolist Theories”) in order to emphasize the manifest contribution she and her co-editor, Joan Delaney Grossman, have made to ensuring the coherence of this admirable collection. Professor Paperno’s clear and concise coverage of her topics makes it evident that she was determined that the book should not turn into the kind of bits-and-pieces patchwork that too many publications of this sort tend to [End Page 372] become without a firm editorial hand at the helm. Her earlier book on Chernyshevsky (Chernyshevsky and the Age of Realism, 1988) and Irene Masing-Delic’s Abolishing Death; a Salvation Myth of Russian Twentieth-Century Literature (1992), form the first two parts of... (shrink)

Pedagogy of Life takes its readers through the echoing stories of the half-century, historical Cultural Revolution of China to the literate lifeworld today. Rosa Hong Chen offers a gripping array of personal and kindred stories woven into the power of words and empathy of art through the volutes of writing and dancing for life, expressing genera of warm melancholy, weighty sensations, compulsive sobs, and refrained elation. It is for the existential history of individual lives and communal sharing (...) that life creates a pedagogical condition of possible experiences. Life itself forms a historical and social path of human growth and maturation. In a philosophical and educational autoethnographical inquiry, the author examines the nature of literacy for those marginalized and oppressed; Chen explores how one's name and the ways in which that name is used affect a person's self-knowing and knowing of the world. This book exemplifies the idea that individuals' autobiographical stories are importantly connected to wider cultural, political, and social meaning and understanding. Pedagogy of Life echoes readers' musings, affects, relations, imagination, choice, learning, teaching, and much more, because we, each and all, have our own names, ways of uttering, writing, and dancing, and, ultimately, our own ways of living, knowing, and becoming. (shrink)

The present paper identifies creativity as a crucial component in the pedagogical process envisaged by Chan masters in the Song era. In particular, the paper considers ritual dialogues between masters and students involving questions and answers taken from the renowned collection known as the Blue Cliff Record. The first section is concerned with the definition of creativity and its role within the contextual framework of Chan pedagogy in the Song era. The second section analyses some significant ritual dialogues included (...) in the Blue Cliff Record with the aim of exploring a variety of different creative expressions in the considered Chan narratives. The third and last section illustrates how the ritualized performance of dialogical encounters, and by extension the use of gongan literature, entails and promotes the recourse to creativity as a functional strategy in Chan practice. (shrink)

The dialectic of light and darkness studied in this collection of essays reveals itself as a primal factor of life as well as the essential element of the specifically human world. From its borderline position between physis and psyche, natural growth and techne, bios and ethos, it functions as the essential factor in all the sectors of life at large. We see its crucial role in all sectors of life while, prompted by man's creative imagination, it (...) enhances and spurs his vital as well as societal and spiritual life. This rare collection contains studies by Thomas Ryba, Krystina Górniak-Kocikowska, Lois Oppenheim, Sydney Feshback, Eldon van Lieve, Sitansu Ray, Theodore Litman, Peter Morgan, Colette Michael, Christopher Lalonde, L. Findlay, Christopher Eykman, Beverly Schlack Randles, Jorge García-Gómez, William Haney, Sherilyn Abdoo, David Brottman, Alan Pratt, Hans Rudnick, George Scheper, Freema Gottlieb, Marlies Kronegger. (shrink)

Evolution and life phenomena can be understood as results of history, i.e., as outcomes of cohabitation and collective memory of populations of autonomous entities across many generations and vast extent of time. Hence, evolution of distinct lineages of life can be considered as isomorphic with that of cultures. I argue here that cultures and culture-like systems – human culture, natural languages, and life forms – always draw from history, memory, experience, internal dynamics, etc., transforming themselves creatively (...) into new patterns, never foreseen before. This is possible thanks to the fact that all forms of life are descendants of life. Ontogeny and speciation in various lineages draw from continuous re-interpretation of conservative genetic/generic “texts”, as well as from changes of the interpretative process itself. The result is continuous appearances of new lineages-cultures and/or communities-cultures, in a semiotic process of re-interpretation and inventing new ways of living. The topic is developed here on the backgrounds of ideas presented by R. A. Rappaport in “Ritual and religion in the making of humanity” and J. Flegr in “Frozen evolution”. (shrink)

The article explores the rich and varied experiences of a collective writing project, unfolding through an anecdote involving Charlie, a young boy who creatively disrupted conventional photography methods. This incident, during an evening promenade by the sea in Ericeira (Portugal), epitomizes the project's embrace of playfulness and exploration of diverse perspectives–materialized through Charlie's playful insistence on experimenting with different angles. The event embodied the group’s approach to writing, leading to a collective inquiry into the interplay of ages, angles, (...) and other themes like waves, threads, shadows, and liminal spaces. The project, driven by the Between Ages Collective, began with informal gatherings in Plymouth, UK, and expanded into a year-long online reading group. Participants, spanning different generations and academic stages, shared various materials, including films, picture books, and scholarly texts, which inspired individual contributions. Influenced by the Collective's collaborative spirit, these contributions explore the concept of 'between ages' – a metaphorical and literal space of transition and fluidity. Contributors were invited to craft pieces that delve into the 'between ages' theme, often exploring serendipitous moments that transform interactions and experiences. The writing tries to capture a sense of openness and curiosity, embracing the uncertainties and ambiguities inherent in the process. The works do not strictly adhere to conventional academic or narrative forms but rather emerge from the collective's shared experiences, including cooking, eating, swimming and walking together. The article suggests that these writings are not meant to be definitive or conclusive but are explorations that invite readers to engage with the mundane and profound textures of everyday life. The stories and themes explored are marked by their diversity in style, rhythm, and imagery, ranging from reflections on the philosophy of shadows to the profound implications of intergenerational and interspecies relationships. The Collective’s work is presented as an ongoing experiment in thinking and writing together, with each piece offering unique insights into the fluid and often blurred boundaries between different states of being. This openness to the in-between spaces brings into question the notion of fixed identities and experiences, inviting a more nuanced understanding of the relational dynamics that shape existence. The article allows the readers to delve into these narratives and engage with the myriad ways they resonate with broader themes of being, storying, and connecting. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

This book provides early years teacher educators with critical guidance to explore the enduring philosophies and principles of early years' pedagogy and to creatively interpret and communicate these to those they are training to be teachers and professionals. It is framed by a principle of continued professional dialogue as integral to, and essential for, effective practice. It: is designed to promote discussion around key themes rather than promote simple solutions to particular challenges foregrounds principles, values and ethics as a (...) precursor to good practice encourages reflective engagement with real life exemplars and case studies juxtaposes traditional philosophies and values with alternative approaches to early learning and childhood presents findings from research into child development and learning and how these interface with pedagogic approaches. (shrink)

This paper is an experiment in collective writing conducted in Autumn 2019 at the Faculty of Education at Beijing Normal University. The experiment involves 12 international masters' students readi...

The new contexts of literary education allow for the creation of digital reading and writing practices related to what specialised literature calls digital literature. Among these practices and with an eminently theoretical content and with an example of this content, in this paper, we want to focus our gaze on cyberpoetry, conceived as an exercise in literary creativity that firstly involves use of technology and specific software for the digital creation of poetic texts and, last but not least, knowledge and (...) mastery of poetic language and the literary conventions linked thereto. From this point of view, in initial teacher training, we work with future teachers to create cyberpoems with a dual purpose: on the one hand, to reflect on what literary reading in digital format entails and to rehearse reading mediation processes that can be carried out with this type of literature, and, on the other, to begin in the digital creation of cyberpoems that, later, may be presented and worked in a real context of the school classroom. In this paper, we present digital practices of literary reading that have been created by student teachers in initial training. The creation of these practices has been carried out with the Genially tool. For data collection, the URL of each creation is accessed in order to analyse them. The analysis of the data follows the parameters of the qualitative methodology, specifically based on three categories of analysis for each digital creation: multimodality, hypertextuality and the interaction of each digital reading proposal. The conclusions of all this allow us to affirm that the creation of cyberpoems is an exercise in literary creativity that has to take into account the digital dimension of the literary text and its reading comprehension in a multimodal environment. Thus, the teacher in initial training carries out a digital literary mediation exercise, of a creative type, which he will later carry out in his pedagogical practice. (shrink)

This article reassesses the concept of a house from a non-human perspective. The two worlds that collide in this article are philosophical analyses that are “beyond the human” and sustainable engineering house design. By analyzing the houses of ten animal species for shelter/skin properties, life pedagogy, materials and resources, thermal dynamics, and structural elements, we speculate on the future of housing. The premise of this article is that “beyond the human” philosophy opens a new visage to comprehend and (...) conceptualize what a house could be. Beyond the human theorizing is defined by philosophy that has gone beyond framing an exploration internally to the benefit of themselves, as human subject. This article speculates that considering animal house construction is a way forward for thought in a changing climate. (shrink)

Meaning in life has been widely recognized as a hallmark of psychological well-being and positive youth development. The goal of this study was to validate the Korean version of the Meaning in Life in Children Questionnaire utilizing the framework suggested by the Standards for Educational and Psychological Testing. Data were obtained from 277 fifth graders aged 10–11 in three elementary schools in Seoul and Gyeonggi through a paper-and-pencil survey. We translated the MIL-CQ, a 21-item self-report measure developed based (...) on Frankl’s “meaning triangle,” into Korean. Psychological well-being measures were also assessed. Validity and reliability data were collected. The content of domains and items was appropriate for measuring MIL among children. A three-factor model consisting of attitude, creativity, and experience pathways was extracted via exploratory factor analysis, and a three-factor hierarchical model including attitude, creativity, and experience as first-order factors and MIL as a second-order factor was confirmed via confirmatory factor analysis. Higher levels of MIL were related to higher levels of satisfaction with life, self-esteem, positive affectivity, and lower levels of negative affectivity. All item fit statistics were acceptable based on the Rasch model. The analysis of the measurement invariance of each item showed that the responses to one item varied by gender, suggesting that additional items might facilitate better measurement of MIL in children. This study provides validity and reliability evidence that K-MIL-CQ is appropriate for measuring MIL among South Korean elementary school students. (shrink)